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DA FIESOLE 



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Bildnisse der Fra Angelico und Luca Signorelli 

(Ausschnitt aus Signorellis .Sturz des Antichrist") 



THE WORK OF 

FRA ANGELICO 
DA FIESOLE 



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Three Hundred and twenty-seven 
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FRA GIOVANNI ANGELICO 
FIESOLE 

HIS LIFE AND WORK 

EVOLUTION has taught us that each new development is not a 
fresh creation, but is the outcome of the fruits of previous realiza- 
tions. This is true of art as it is of all natural things. A so-called 
Golden Age in Art is the result of prior ages less rich in achieve- 
ments, and a declining age may be the forerunner of another Golden 
Age, contributing necessary elements, even though it seems to have 
been a period of failure. The age of Giotto or of Giovanni Pisano 
was followed by a declining period, but in the decline came Don- 
atello and Masaccio. After these again came a seeming retrogres- 
sion in the second half of the early Renaissance ; but the retrogression 
resolved itself into a progression in that it assisted to bring about 
the age of Michel Angelo and Raffael. Another phenomenon to 
be noted in the evolution of art is that along with the new there is 
often found a single complete flowering of the old, as if the old had 
put forth its last energies before it died out altogether. This is what 
we find in the age of Masaccio, Donatello and Brunelleschi, when 
Ghiberti and Fra Angelico are the final expressions of the older 
traditions. Both these men were undoubtedly influenced by the new 
naturalistic movement, and Angelico, in his late works, actually dis- 
carded the Gothic line in the dress of his figures; yet the mainspring 
of their art took its source in the old traditions, and their charac- 
teristics are harmony and noble rhythm rather than a faithful re- 
production of nature. Fra Angelico remained Gothic, and in this 
sense, he may be said to be the final blossoming of the dying flower 
of the Middle Ages. 

Fra Angelico was better known in his own day by the cognomen 
of Fiesole, from the monastery in which as a young man he entered 
and chose as his life home. He was born in 1387, at Vicchio, a 

5 



Florentine settlement of the fourteenth century directed against the 
powerful Counts of Guidi. In his early years he was known as Guido 
di Vicchio. Vasari gives 1390 as the date of his birth, but to-day 
the earlier year is more generally accepted. Of his family we know 
no more than that his father was named Pietro, and that he had a 
brother named Giovanni, who entered the monastery with him and 
took the name of Benedetto. We are in complete ignorance as to 
who his teachers were. It is probable that he had already learned 
to paint before he came to the Dominicans. The first picture of 
which the date (1433) is positively established, he painted when he 
was forty-six years old, and he died at the age of sixty-eight. The 
bulk of his work was done in these twenty years, and only of this 
period do we possess anything like precise information as to his life 
and work. 

Of Donatello (who was a year older than Angelico) and the 
sculptors who were contemporary with him, the records tell us much; 
but of the painters of this same period — Bicci di Lorenzo, Jacopo 
di Roselli Franchi, and Giovanni da Ponte — the men with whom 
Guido di Vicchio grew up, of these the records tell us next to nothing. 
Recent investigation has concerned itself more intimately with these 
" umili pittori," and though it has uncovered important facts con- 
cerning most of them, it has left us still in the dark regarding the 
subject of this biography. All that it has enabled us to do is to place 
Fra Angelico in his historical position. 

It would be unjust to compare Fra Angelico with Masaccio, 
who was fourteen years his junior. He should more properly be 
judged with such men as Roselli Franchi, Masolino, and Giovanni 
da Ponte. At the same time we must not forget that the Dominican 
was more influenced by Umbrian art than were these painters. All 
of them learned from Gentile da Fabriano's two famous master- 
pieces for S. Trinita and S. Niccolo; but prior to the completion 
of these paintings Angelico had spent the first twenty years of his 
life — always an important period for an artist — almost entirely in 
Umbria, in Cortona and in Foligno. 

Another consideration which should weigh with us in our judg- 
ment of Angelico's work is that his life was spent within monastic 
walls. The life of silence and prayer, with its obedience to the strict 
rules of the Dominican Order, must have had no little effect on 
the man and his point of view. This life and the landscape of his 
home, of Umbria and Fiesole and later that of Rome, are to be seen 
everywhere reflected in his works. Angelico was called to Rome 

6 



by Pope Eugenius IV, who was closely allied with the Dominicans, 
and it was probably due to this that Angelico, then a sexagenarian, 
became, for the first time, known to the world outside the narrow 
confines of the Order and his native district. 

He entered the monastery in 1407, when he was twenty years 
of age. His early paintings (none of which has been preserved) 
were probably similar to the early works of Giovanni da Ponte, who 
was of an age with Angelico. Da Ponte's early work may be seen 
in the frescoes of San Michele, from which it is evident he fol- 
lowed the traditions of the old school. 

Some critics suggest that Spinelli Aretino taught both Da Ponte 
and the friar; others state that Angelico's teacher was Stamina, the 
teacher of Masolino. Be this as it may, the oldest of the paintings 
by Angelico known to us emanate from the Umbrian period, and 
show but slight marks of the later Trecento art. 

Of the paintings Angelico executed for his monastery but a 
small part remains to-day. It is most likely that his earliest work 
was destroyed or whitewashed over when the building was recon- 
structed in 1627. His great " Crucifixion " in the Chapter Hall was, 
only a few years ago, discovered behind a coating of whitewash. 
It is one of the friar's most powerful creations. While in compo- 
sition and expression it resembles Donatello's austere work in S. 
Croce, the effect is entirely different from that created by the sculp- 
tor's " Crucifixion." It is symbolic and not realistic, as is Donatello's 
work. Angelico returned to this subject in his later years, but he 
never attained to such austere dignity and majestic beauty as this 
" Crucifixion " possesses. A fresco of an oval Madonna, smaller in 
size than the " Crucifixion," was also discovered in the monastery. 
Unfortunately, faulty restoration has left it in a sad condition. It 
was enlarged and painted over, in 1501, by Lorenzo di Credi, a pupil 
of Verrocchio. In the original painting the saints were placed in a 
single row on a gold background. The figures differed very little 
from those in other examples of the late Trecento period. 

Two frescoes from Fiesole, both much painted over, and prob- 
ably of the artist's later years, are now in St. Petersburg and Paris. 
One represents Mary and the Child between St. Dominic and 
Thomas Aquinas, and the other Christ on the Cross, lamented by 
Mary, John and St. Dominic. Only a small part of the second fresco 
seems to be by the Fra himself. But the Louvre contains another 
work from Fiesole, which is of much greater value. This is an 
altarpiece of " The Coronation of Mary," with scenes illustrating 

7 



Dominican legends in the ornamentation of the slanting side pic- 
tures. The painting is of an austere splendor, but, unfortunately, 
time has dealt severely with it, and much of the richness of the orig- 
inal coloring is lost. The painting shows distinct influences of 
Masaccio, Brunelleschi and Donatello, especially in the treatment 
of details. 

To an earlier period than that to which this altarpiece belongs 
must be ascribed a few paintings, more modest in size, especially the 
miniature-like Madonnas. The series begins with the Madonnas 
now at Parma and the Staedel Institute. Both of these evince re- 
lations with older art, more particularly with the work of Lorenzo 
Monaco. Angel ico's own style is to be seen in those Gothic 
reliquaries which he painted for the Church of S. Maria Novella, 
and in the beautiful Madonna in the Vatican. This Madonna is a 
replica of the centre-group in the Fiesole altarpiece. As in most 
of Angelico's paintings of this subject the throne of the Madonna 
is covered with gold brocade, and gives the appearance of a rich 
Oriental rug which serves as a background. Of these gold Reli- 
quaries three are known: one is in the Monastery of San Marco, one 
is in the possession of Mrs. Jack Gardner, of Boston, and one 
is in the house of Count Stroganoff in Rome. These Madonnas are 
characterized by the adoring angels peculiar to the art of this " an- 
gelic " painter. In the Stroganoff picture the Madonna is in pro- 
file, an unusual treatment for this artist. It is possible that Angelico 
found his model for this painting in the popular marble relief, now 
in Berlin. 

The reliquary in the Museum at San Marco is richer in 
coloring and decoration. It also represents the Annunciation of 
Mary and the Adoration of the Three Kings in the centre, and is 
most expressive. There is to be noted in it some attention to per- 
spective. Here again the background is composed of a splendidly 
colored rug. The reliquary in the possession of Mrs. Jack Gardner 
is unquestionably a masterpiece. In the lower part of the paint- 
ing is a dense mass of figures, and above, the Virgin, surrounded 
by a corona of horizontally placed angels, seems to be slowly and 
gently ascending to heaven. The picture bears witness, as do few 
of Angelico's works, to the mastery of the man's beautiful art. It is 
Gothic in style and not Renaissance, but what Gothic! If we com- 
pare this reliquary with Donatello's relief of the " Ascension " in 
Naples, the difference between these two periods of art will be most 
distinctly realized. In Angelico's painting there is not a suspicion 



of real movement; in Donatello's sculpture the very flesh and muscles 
breathe the energy of the body in its upward flight. 

Further examples of this, which may be called " the art of 
line," are " The Last Judgment," in the Academy of Florence, " The 
Coronation of Mary," in the Uffizi, and " The Last Judgment," of 
a later period, now in the Kaiser-Friedrich Museum at Berlin. The 
Florence "Judgment" is most charming in its arrangement and in 
the beautiful corona of angels. The composition is certainly An- 
gelico's, even if much of the actual painting was done by his pupils 
and assistants. The " Coronation " has much in common with the 
larger " Coronation " in Paris, chiefly noticeable in the gradation 
of the strongly plastic figures and in the arrangement of the rows, 
one above the other, of the attendant people. The Uffizi painting, 
however, gives a delightful impression of heavenly splendor by 
means of luminous colors against a gold background. The groups 
in the foreground are more realistic in treatment, even though these 
also float in bluish clouds. One speculates whether Angelico had 
here, in a vague way, felt the problems which, later, Titian, Tin- 
toretto and Rubens solved. 

Angelico's smaller paintings of this period are much finer in 
execution than are his large altarpieces. It would appear as if he had 
not yet mastered the technique of his art. Charming indeed is the 
harmony of the light coloring with the gold backgrounds of these 
small pieces; but the early Madonna altarpiece at S. Domenico and 
the one for the Anna-Lena Monastery in the Academy are alike 
primitive by comparison. This must also be said of the very large 
work he executed for the Wool-Carders' Guild, and now in the Uffizi, 
for which Ghiberti designed the stone frame. The figures, in this 
painting especially, are larger than life-size and are exceedingly 
stiff. The treatment of the Virgin and Child, while rich and im- 
pressive, is yet severe. The Madonna herself, however, is of the 
soft, oval type, evidently derived from Lorenzo Monaco, and the 
model for Angelico's later Madonnas. The Wool-Carders' picture 
is the first of the artist's works to which an accurate date can be 
assigned. It was ordered by the Guild in 1433, while Angelico was 
still living at San Domenico, a fact which would seem to indicate 
that his fame had traveled to Florence. Probably it was shortly 
after this date that he painted another picture for Florence, namely, 
the large " Descent from the Cross," which is now in the Florence 
Academy. It was ordered for the Church of S. Trinita, where hung 
Gentile da Fabriano's " Three Wise Men." For many years both 

9 



these paintings were shown together, to the detriment of Angelico's 
work, which never was as fine as Fabriano's altarpiece in coloring. 
The latter far excelled Angelico, especially in the realization of the 
play of light on field and sky, and this superiority is very marked 
when these two pictures are seen together, side by side. To-day 
Angelico's " Descent " is in a sad state. It was painted over in such 
execrable taste that the original painting has almost been entirely 
destroyed. 

Perhaps only an Italian can feel sympathetically and appre- 
ciate the simplicity and the naivete of Angelico's paintings. To the 
sterner Northerner the sentiment borders dangerously near to sen- 
timentality and even silly affectation; but we can well believe that 
to a native the Descent from the Cross on to a flowered lawn, with 
the hills of Fiesole in the far distance, must have appealed poignantly 
like a parting from a beloved birthplace and home. This sense of 
leave-taking suggests the possibility that Angelico was here express- 
ing his own feelings, since at the time he painted the picture nego- 
tiations were in progress for the removal of the Reformed Domin- 
icans to Florence — first to the Monastery of San Giorgio, and later 
to that of San Marco. 

The monks of St. Sylvester had owned this larger estate of 
San Marco since 1299. The Order had, however, declined to so 
low a condition that the number of monks remaining in the monastery 
amounted to but twelve. For this reason, and on the advice of 
Cosimo de' Medici, Pope Eugenius IV ordered the Sylvestrians, 
in 1436, to exchange their place of residence with the Dominicans, 
giving to these the larger San Marco and taking to themselves the 
smaller San Giorgio. The Dominicans, however, on taking pos- 
session of their new home, quickly discovered that the place was 
in a very bad state of repair and almost unfit for habitation. Sick- 
ness broke out among the monks and several of the brethren died. 
Happily, Cosimo de' Medici came to their help. He contributed 
money and sent his architect, Michelozzo, to rebuild the monastery 
buildings. The upper story, the choir and tribune of the chapel, all 
were rebuilt, as also were the library and cloisters, and in 145 1 the 
Monastery of San Marco had risen up anew. Almost all the rooms 
of his new monastery were decorated with frescoes by Fra Angelico 
and his pupils and assistants, so that even to this day San Marco is 
a veritable art gallery devoted to this artist's genius. In addition 
to the exquisite paintings of Angelico and his records of his holy 
visions, the place is perfumed with the memory of Fra Girolamo 

10 



Savonarola, who fought so strenuously for the Lord and who died 
fighting. 

In rebuilding their monastery, Michelozzo kept faith with the 
severe rules of the Dominicans; he avoided all undue ornamenta- 
tion. The cells are small and low, and the rafters are visible in 
all the corridors ; doors and windows are rounded above, and the 
light is reflected from whitewashed walls. Angelico painted his 
frescoes on the comparatively dark walls of the windows. Each 
fresco in each cell was intended to serve as an altarpiece for the 
occupier of the cell. Each fresco, like each window, is rounded 
above, and all, practically, are in the same light. This great series 
of paintings forms one of the most important chapters in the his- 
tory of Angelico's life-work. When we remember that the time he 
spent on this work could not have been very long, we must conclude 
that the artist employed many assistants. The building itself was 
finished in 1451, but in 1445 Angelico went to Rome and only re- 
turned to Florence in 1450. Furthermore, he had accepted com- 
missions from other places, and we know also that he took a short 
trip to Umbria. 

The altarpieces at Cortona and Perugia were formerly ascribed 
to the early period of Angelico's life, to the time he spent in Umbria; 
but though the Cortona Madonna, from its Gothic frame, would 
indicate an early date, yet the figures of the saints, especially that 
of Mary Magdalen, point to the same pupil who helped him with 
the later " Lamentation," and some of the San Marco frescoes. The 
predella, to-day in the Baptismal Church of Jesus at Cortona, is 
entirely the work of assistants, and mainly copied from the Domin- 
ican predella at the Louvre. The Madonna herself is much more 
finished than the one done for the Guild of the Wool-Carders, and 
appears to be a study for the one at Perugia. The " Annunciation " 
— also at Cortona — belongs, probably, to Angelico's last years at 
Fiesole. The altar painting at Perugia, on the other hand, reveals 
distinct relationship with later art. Only parts of it remain to-day, 
but there is no doubt that its Gothic structure was very like that of 
the Cortona Madonna. The figures to the left, those of Dominic 
and Nicholas, are probably by Angelico himself, and show him in 
a new stage of development. Hitherto his heads were unfinished 
and flat; here they are remarkably plastic. 

The order, in time, of the building of San Marco is, probably, 
the order in date of the painting of Angelico's frescoes for it. The 
upper story was the first to be built, and the cells in this story were 

1 1 



the first to be decorated. Later, came the rooms of the first corridor, 
opposite to and alongside of the library. Of the three frescoes in 
the corridors, which, probably, were done at the end of the Florence 
period, the Madonna with the Saints as well as the Crucifixion are 
not entirely Angelico's work; but the large " Annunciation " seems 
unquestionably to be the work of the master's hand. The decora- 
tion of the cells along the corridor was, probably, finished in later 
years, after Angelico had left for Rome. Or, he may have designed 
them between the years 1450 and 1452, when he was once more in 
Tuscany. The last cell in this row is the one that Savonarola occu- 
pied. It was decorated much later by Fra Bartollomeo della Porta. 
Of the frescoes in the lower story those in the cloister were, probably, 
painted first, and then came the large " Crucifixion " in the Chapter 
Hall. This last painting remained unfinished when Angelico was 
called to Rome. The subject chosen for the frescoes of the Cloister 
and the Chapter Hall was Christ and His Martyrdom, as being the 
heart of the Christian faith. Round this subject the saintly breth- 
ren of the Order of the Dominicans were represented as Confes- 
sors of the Faith. For the cells the main subjects for treatment 
were taken from the lives of Christ and the Virgin. The " Cruci- 
fixion " is often represented, but never repeated in the same fashion. 
Portraits of St. Dominic, St. Peter Martyr, St. Thomas Aquinas, 
and even St. Francis, the founder of the Order, are freely introduced 
in the paintings. The landscape is not Tuscan, but is filled with 
the simple motives of Renaissance architecture; especially rows of 
slender columns similar to those of the Cloister of San Marco itself 
occupy the artist's fancy. In these there is much less of accessory 
decoration than there is in the larger paintings. Exceptions to this 
are the " Christ in the Garden," " The Temptation in the Desert," 
" The Garden of Gethsemane." The Savior speaks His " Noli me 
tangere " in a most beautifully laid out garden. In the " Tempta- 
tion," though the painting is in a sad state of decay, there are still 
to be seen the bright river-valley and the surrounding hills, very 
unlike a desert. The Gethsemane picture shows Christ kneeling in 
a landscape lit up by the moon shining through trees. 

But the artistic value of all these paintings lies not in their de- 
tails but in their composition and in their simple color harmonies. 
The composition is always perfectly distinct and almost always re- 
tains the noble rhythm inherited from the Gothic. The Passion of 
the Savioi is never realistically treated, though a somewhat stronger 
accent is given to Mary's grief, and the lamentations of the disciples. 

12 



But the praying of the founder of the Order is true passion. Angel- 
ico repeats this one theme over and over again, varying its treatment 
from quiet meditation to agonizing suffering and self-castigation, 
until the Dominican is seen overcome with grief and stretched prone 
on the floor lying with outstretched arms in the shadow of the Cross. 

Of the other frescoes in the first corridor, the " Transfiguration 
on Mount Tabor," " Christ mocked before Pontius Pilate " and 
" The Coronation of Mary " deserve special study. By their har- 
mony of line and finish of form they are seen at once to be by the 
master's own hand. In " The Transfiguration " the visionary ele- 
ment is expressed, less by the shining nimbus, as it is by means of 
the exaggeration of the size of the Savior's figure in comparison 
with the small and cowering figures of the disciples and prophets 
below. The outstretched arms into the clouds recall Diirer's concep- 
tion of God throned between two lights. The apparently quiet pose 
produces an astonishing impression of greatness. In the neighboring 
cell the Passion is pictured, but the effect realized is very poor. In 
" The Coronation " Angelico placed the Virgin, as he formerly did 
in his gold background paintings in the Uffizi, in the heavens. In 
this painting, however, she is somewhat more realistically repre- 
sented. The white clothing of the Mother and Son on a yellowish 
background is in strong contrast with the brown and blue-gray cas- 
socks of the monks. The harm©ny of line and the grace of movement 
give to this painting a quality which few of Angelico's other works 
possess. 

Most of the paintings in the first corridor lack Angelico's purity 
of spirit and telling beauty, which are so manifest in " The Mock- 
ing of Christ " and in " The Annunciation." Probably they were 
done by his pupils and assistants. It may also be that they are the 
beginning of the master's later style which came to full expression in 
the Roman frescoes. There is much more of realism in them than 
there is in the other paintings. 

The problems Angelico had to solve for the decoration of the 
Cloister and Chapter Hall were different from and much more diffi- 
cult than those set by the upper story of the Monastery. In the upper 
story each whitewashed cell was decorated with a single fresco; in 
the Cloister only part of the walls was to be treated, leaving the 
rest empty. Above the doorways were pointed lunettes, and these 
were filled with paintings inculcating obedience, silence and medi- 
tation. For this purpose Angelico employed the figures of the dis- 
tinguished members of the Order — St. Dominic, Peter Martyr and 

*3 



Thomas Aquinas. Over another door rises from his coffin the form 
of the suffering Savior, a composition of noble rhythm, treated sim- 
ply and naturally in an almost primitive manner. The large fresco 
— "The Crucifixion," with St. Dominic praying at the foot of the 
Cross — is a simple and quiet composition reflecting the deep fervor 
of the religious spirit of the Middle Ages. The same quiet grief is 
reflected from the fresco of " The Crucifixion " in the Chapter Hall, 
but the effect is weakened in this painting by the many repetitions 
of grief in the many mourners. Its large size, however, helps to 
relieve this depressing monotony, and in spite of this defect, the 
grouping and harmony give it a charm difficult to define. 

In addition to the frescoes for the Monastery, Fra Angelico, in 
1440, painted the high altarpiece for the monastery church. The 
Madonna is enthroned and surrounded by adoring angels, while 
saints kneel at a distance. The floor is covered with a richly col- 
ored Oriental rug with designs of animals. The view opens out 
through shade-casting trees to a wooded background and far-off 
hills, a motive of discreet beauty hardly ever attempted before An- 
gelico's time. The Madonna is of the type of the frescoes in the 
lunettes at Cortona; her figure is broader and more matronly in its 
strength than that of the one over the altar in Umbria. In its present 
condition much of the coloring is lost and the picture as a whole 
is sadly soiled. 

Differing from almost all the frescoes of these years, Angelico 
inserted in the Madonna painting and its predella, which depicts 
the legend of St. Cosimo and St. Damiano, much accessory orna- 
mentation, both in the landscape and in the interior. Not only is it 
evident that several motives have here been recognized for the first 
time for their artistic values, but — and this indicates a real progress 
— the treatment of the foliage and the differentiation between the 
more neutral colors of the background and the brighter colors of 
the foreground is almost impressionistic. In this connection may be 
named " The Healing of the Sick," now in the Academy of Flor- 
ence, " The Martyrdom of the Saint," now in the Louvre, and " The 
Judgment," in Munich. 

At one time a number of miniatures were ascribed to Angelico, 
and while it is true that he executed small paintings and those reli- 
quaries with their precise outlines and rich and dainty gilding, we 
know of no books with miniatures of that time which can with any 
certainty be said to be the work of Angelico. The painter's activity, 
at this period, was undoubtedly interrupted by other work, but it was 



not with commissions for miniature work. Before he had com- 
pleted his mural decorations for the monastery, a fresh opportunity 
was to be given to the sexagenarian artist which was to enable him 
to give the highest expression of his art. 

Pope Eugenius IV, who had spent most of the eight years of 
his exile from Rome at St. Maria Novella in Florence, and had no 
doubt seen there the paintings of the Dominican friar, called Angel- 
ico to his Court in Rome. Here the artist remained until the Pope's 
death in 1447, and was also, later, retained by Eugenius's successor, 
Nicolas V. Nicolas had known Fra Giovanni at San Marco where 
he, then the young humanist, Tommaso Parentacelli, was busy ar- 
ranging the library of Niccolo Niccoli, one of the many precious 
gifts of Cosimo de' Medici to the Order. During the summer of 
1447, Fra Angelico was absent from Rome, having been ordered to 
Orvieto. Towards the end of 1449, he was once more in Florence, 
because of his nomination as prior of St. Dominic. His brother, the 
learned copyist, had held that office from 1445 to 1448. This was 
the period of the crest of the wave of a new movement in art. The 
gay Carmelite, Filippo Lippi, the complete opposite to Angelico, 
as man and artist, had already finished his large " Coronation " for 
St. Ambrogio, and his beautiful " Adoration " for the Medici Pal- 
ace; Luca della Robbia and the aged Donatello had achieved their 
masterpieces in sculpture; and a new generation of plastic artists had 
arisen, which included Desiderio and Antonio Rossellino. How 
this movement affected Angelico it is difficult to tell. He remained 
at his priorate for nearly four years and then returned to Rome. 
This was towards the year 1453. Three years later, on the 1 8th of 
March, 1455, he died there. 

At the Vatican Angelico was engaged to paint two of its chapels 
— the one dedicated to the Holy Sacrament which was destroyed 
about a hundred years later, when Paul III built in its place the 
splendid Scala Regia, and the other the chapel of Pope Nicolas V. 
Of his work on the first nothing is left but a few notes, in spite 
of the fact that the famous humanist and collector, Paolo Giorio, had 
copies of Angelico's work made for his " museum." Even these 
copies have been lost. All that we know of these decorations is that 
they consisted of scenes from the life of Christ, and that Angelico 
painted in them portraits of the Pope, the German Emperor, Fred- 
eric III, S. Antonio, Ferdinand of Aragon, and other great men of 
the time. 

The Capella del Sacramento was situated in the basement of 

l 5 



the Vatican; the Chapel of Pope Nicolas V is near the Hall of 
Constantine and Raffael's loggia. It is a small rectangular room 
with an arched ceiling in the form of a cross. The window is situ- 
ated in one of the smaller walls above the altar, and this also once 
contained a painting by Fra Angelico. The panel painting in this 
Chapel is of nearly the same height as the window, and is very 
rich in coloring. It dates, probably, from about 1585, and has been 
repeatedly renewed since that time. The one near the altar wall has 
been much damaged by dampness. Documentary evidence exists 
which proves that Angelico employed assistants on this work, and of 
these the name of Benozzo Gozzoli appeared later as a master on his 
own account. 

Of records of payments to Angelico for work in the Vatican, 
those for the years 1447 and 1449 only are extant. No doubt the 
artist was much interrupted in this undertaking. In the summer of 
1447 he accepted an important commission to paint the Chapel of 
the Madonna in the Cathedral at Orvieto. He promised to work 
on this during the summer months of each year, when the heat in 
Rome was too strong for him to bear, until he had finished it. The 
contract was signed in June, and by September he had filled the two 
triangles of the Cloister. But Angelico did not go on with the work, 
and two years later terminated the contract. His pupil, Gozzoli, 
offered to complete it, but the Orvietan authorities declined the 
offer. It was finished fifty years later, when Luca Signorelli filled 
the room with his powerful conceptions. The subject Angelico 
took for the work he did for this Chapel was " The Last Judgment." 
He painted in the large space of the Gothic ceiling the Judge of 
the world between angels. The shape of the room demanded the 
simplest of compositions, but the broad style of painting and the 
loose grouping of the adoring angels, as well as the energetic gesture 
of the enthroned Savior, show Angelico's masterly freedom and won- 
derful ability. 

At about this same period, that is to say, the period of the begin- 
ning of his sojourn in Rome, Angelico painted another " Last Judg- 
ment," the wonderful one now in the Kaiser-Friedrich Museum in 
Berlin. A copy of this painting made by Spranger to the order of 
Pope Pius V is in the Turin Gallery. The copy is not a faithful 
replica of the original, which is in a fair state of preservation, and 
was converted into a triptych. The original is one of the most beau- 
tiful of Angelico's works. In treatment it is a return to his earlier 
manner — but for the last time. The daintv gold background takes 

16 



us back to the Fiesole period, as do the rhythmic Gothic lines and 
the charming angels on the flowery lawn which no one could paint 
like Angelico. The composition, however, is much richer; the 
groups, as well as the single figures, possess greater freedom of move- 
ment and are more natural, and there is no break in the illusion 
from the earthly foreground to the heavenly scene above. The saints, 
also, who surround Christ's throne, are as varied in types as are the 
prophets in the painting in the Cathedral at Orvieto. It is usual to 
take little note of Angelico's representations of the place for the 
damned, because of the naivete of its conception; but we certainly 
should consider the use he made of this traditional material. In the 
much earlier " Last Judgment," in the Academy of Florence, the 
picture of hell is very like that of the trecento paintings in S. Maria 
Novella and in the Pisan Campo Santo. In the Berlin painting, 
however, the figures of the condemned are far more varied and 
realistic in the expression of suffering. A still further advance, in 
this respect, is to be seen in the later " Last Judgment" at the Spor- 
telli, now in the Academy of Florence. For the Church of the 
Santissima Annunziata, the richest church in Florence, Prior An- 
gelico painted thirty-five small pictures illustrating the teachings 
of the Christian religion. They were executed during his last stay 
at S. Domenico, about the year 1450, with the help of assistants. 
In this series the artist tells most simply the story of Christ's life. As 
in the Biblia Pauperum of that day, each painting bears a text 
from the Bible, of which the painting itself is an illustration. Most 
of the compositions are by Angelico himself; but the execution is 
often so loose and faulty that we are compelled to the conclusion 
that it was largely the work of his assistants, probably that of Zanobi 
Strozzi and Baldovinetti. Of these the " Annunciation " is finely 
expressive in the symmetrical distribution of its space; the " Nativ- 
ity " is most appealing; and the " Presentation of Christ in the Tem- 
ple " interesting for its architectural details. In the " Flight to 
Egypt," the figures possess a tenderness quite beautiful; and in the 
" Prayer on the Mount of Olives " the treatment of the oncoming 
darkness is in the master's fullest power. 

A masterpiece of these years is the monumental altar painting 
for the Franciscan monastery at Bosco, now in the Academy of Flor- 
ence. It is very probable that this painting was executed to the 
order of the Medicis. The subject is once more the Madonna en- 
throned between worshipping angels and saints. The architecture, 
however, is now that of the fully developed Renaissance style. The 

"7 



Virgin herself is of the type of the one at Perugia; but the naked 
Child is very realistically treated, as are also the saints in their well- 
poised figures and noble dignity of expression. A comparison be- 
tween this painting and that of the altar picture for the Guild of 
the Wool-Carders at once reveals the great progress made by Angel- 
ico in the twenty years which had intervened. 

The Vatican frescoes are nearly related to this Madonna of 
Bosco, and, from their style, we may even conclude that they were 
begun before Angelico's trip to Florence, and finished after his re- 
turn. The Evangelists on the ceiling, where the work was, naturally, 
begun, belong in time and style to the group of prophets in the Ca- 
thedral of Orvieto. Shortly after this ceiling was completed the 
saints in the upper corners and the St. Stephen legend were painted. 
The scenes are full of light and are most carefully composed — very 
precise, but with that soft rhythm so characteristic of Fra Angelico's 
art. Among the spectators of the " Martyrdom " are possibly por- 
traits of contemporaries. In the first scene of the St. Stephen story 
is pictured a church which, in its architectural motives, recalls 
Brunelleschi's basilicas. Of the lower frescoes depicting the legend 
of St. Laurentius, the last events were painted first — the Conviction 
and The Martyrdom. In the murder scene there is very little of 
Angelico's style; but in the Judgment, the hand of the master is 
at once visible. All the details are by Angelico, and speak his 
language. For many of these frescoes, however, Angelico sought 
the help of assistants, which argues that the man of nearly seventy 
was failing in strength. The frescoes are probably the last work of 
his hands. Fra Angelico died in harness at the age of sixty-eight, 
and was buried in the monastery church of S. Maria Sopre Minerva. 
Near his tombstone, under the high altar, rests his saintly Dominican 
sister, Catherine of Siena; and between the two graves rises the 
statue of Christ, the work of Fra Angelico's great countryman, 
Michel Angelo. 

The church has beatified Fra Giovanni da Fiesole. His 
countrymen named him Angelico, or the angelic. Vasari relates 
of him that his art was like a religious service to him; that he always 
prayed before undertaking any work, and that he never altered 
what he had once put down. He gives many examples of the mas- 
ter's child-like faith and pious obedience. Whether these stories 
be true or not they could have been told only of one of a saintly 
character. The style is the man, and Angelico's style breathes 
beauty. It is evidently the very breath of his innermost nature. 

1 8 



Angelico grew to manhood in a quiet, fertile valley, away from the 
busy, growing city of Florence. He spent ten years of his life in 
Umbria, the home of St. Francis and the nursing ground of those 
painters Morelli calls " the song-birds of Italy." He learned from 
these as well as from the painters on the Arno; but he is a nearer 
kinsman to the Saint of Assisi than he is to the rigorous preacher, 
whose dress he wore. Like St. Francis, also, he had a keen sense of 
humor and a fine appreciation for the beauty of landscape and of sky. 

As an artist, he takes his place between the older Gothic and 
the Renaissance. From the former he learned the monumental style 
of wall-painting, and many a modern artist may well envy his sure- 
ness in filling large spaces. He carried to perfection the beauty of 
the Gothic line in a manner unequalled by any of his contemporaries. 
Ghiberti alone approaches him in this respect. But the possession 
of this rich inheritance did not blind him to the genius of the younger 
generation. Comparatively early in his career he adopted Brunel- 
leschi's, Masaccio's and Donatello's treatment of perspective. While 
in his compositions he remained true to himself, he did not per- 
mit himself to be indifferent to their influence and example, and 
his figures became more and more plastic as time went by. In his 
early paintings he preferred vivid colors to match the gold of his 
backgrounds; but in his later years he made the fresco a medium 
for a more restrained coloring and a quiet harmony agreeable to his 
own style. 

Angelico was not a pioneer, as was Donatello or Masaccio. 
Men of lesser talents, who were unable to follow in the footsteps of 
these innovators, came to Angelico as his pupils. Among these were 
Peselino, Zanobi Strozzi, Baldovinetti and Benozzo Gozzoli. For 
these, and for even greater men than these, Angelico was a flaming 
torch, lighting up the way of art. Filippo Lippi's " Adoration of 
the Kings" (at Richmond) would have been impossible without 
Angelico's influence, while the same master's " Coronation of the 
Virgin" (at St. Ambrogio) is the very Child of Fra Giovanni's 
painting, now in the Louvre. Finally, Botticelli, different as is his 
tone from that of Angelico's, received many suggestions from the 
work of the Dominican friar-painter. 

A general survey of Angelico's art produces an almost disa- 
greeable impression of monotony, in the similarity of treatment of the 
same composition. But this defect is due, rather, to the custom of 
the times in which Angelico lived, than to any fault in the artist 
himself. His highest achievements are to be found in those works 

*9 



in which the man is truly himself, and these show the great value 
and import of Angelico's contribution to the history of civilization. 
He is the tenderest and most pious writer of the story of Christian 
salvation; the best and finest interpreter of that piety of the late 
Middle Ages which, though it turned passionately to heaven, was 
yet filled with the joy of earth. 



10 



FRA ANGELICO 
DA FIESOLE 



ABBREVIATIONS AND EXPLANATIONS 

H. = Height 
B. = Width 



Auf HoLz = on wood 

Auf LEiNWAND = on canvas 

Auf ScHiEFF.R = on slate 



The figures giving the sizes of the paintings stand for metres 



DIE WERKE FUR FIESOLE, UMBRIEN 
UND FLORENZ 

(OHNE S. MARCO) 

THE WORKS FOR FIESOLE LES CEUVRES POUR FIESOLE 

FLORENCE AND UMBRIA FLORENCE ET L'OMBRIE 

(WITHOUT S. MARCO) (SANS SAINT MARC) 



Fra Angelico da Fiesole 1 




*Florenz, Akademie Auf Holz, fast lebensgross 

Thronende Madonna mit dem Kinde 

Zwischen 1418 und 1425 
Madonna and child, enthroned La Vierge avec l'Enfant sur le trone 



Nach einer Aufnahme von Fratelli Alinari, Flon 




* Fiesole, San Domenico, Kirche 



Thronende Madonna mit Engeln und den Heiligen Dominikus, Barnabas, 
Thomas von Aquino und Petrus Martyr 
Altarpiece: Madonna (Die Predella moderne Kopie) Autel : La Vierge 

with angels and saints avec des anges et des saints 



Nach einer Aufnahme von Fratelli Alinari, Florenz 




*Plesole, San Domenico, Kirche 

Thronende Madonna mit Engeln und Heiligen 

(Ausschnitt aus dem Altarbild auf S. 3) 
Madonna with angels and saints La Yierge avec des anges et des saints 

(Detail of the picture on p. 3) (Detail du tableau de p. 3) 



Nach einer Aufnahme von FratelH Allnari, Florcnz 







.5 -o 
^ Si 




'Fiesole, San Domenico, Kapitel-Saal Fresko, H. 3,6S, B. 2,50 

Kruzifixus 
Christ on the cross Zwischen 1420 und 1430 Le Christ en croix 



10 




► Frankfurt a. M., Staedelsches Kunstinstitut Auf Pappelholz, H. 0,37, B. 0,2! 

Madonna mit dem Kinde und Engeln 
Madonna with child and angels Zwischen 1420 und 1425 La Vierge avec l'Enfant et des anges 



Nach einer Aufnalime von F. Bruckmann A.-G-, MQnchen 



11 




"Rom, Sammlung Strognnoff Auf Hoi 

Nischen-Tabernakel mit Gott-Vater und Engeln 
Tabernacle for a niche with Zwischen 1420 und 1430 Tabernacle a niches avec 

God-Father and angels Dieu le pere et des anges 



12 




*Rom, Sammlung Stroganoff Auf Holz 

Gott-Vater und anbetende Engel 

God-Father and adoring angels Details vom Nischen-Tabernakel (S. 12) Dieu le pere et des anges adorant 
(Detail of the picture on p. 12) (Detail du tableau p. 12) 



13 




*Florenz, S. Marco 



Aul Holz, II.0.S4, B.O.M 



Die Madonna della Stella 
The Madonna della Stella Zwischen 1420 und 1430 La Madone della Stella 



Nacli einer Aufnalune von FratclH Aliuarl, Florenz 



14 




*Florenz, S. Marco 

Die Madonna della Stella 
The Madonna della Stella (Ausschnitt) La Madone della Stella 

(Detail) (Detail) 

Nach einer Aufnahme von Fratelli Alinari, Florenz 



Fra Angelico da Fiesole 2 



15 




•Florenz, S.Marco Aul Holz. H.0,84 

Die Verkiindigung und die Anbetung der heiligen drei Konige 

Zwischen 1425 und 1435 
The annunciation — The Magi adoring Christ L'annonciation — L'adoration des rois 



Nacli einer Aufnjhme von FraU-tli Alinari, Florenz 



16 




* Florenz, S. Marco 



Die Verkiindigung 

(Ausschnitt aus dem Bilde auf S. 16) 
The annunciation 
(Detail of the picture on p. 16) 



L'annonciation 
(Detail du tableau de p. 16) 



Nach einer Aufnahme von Fratelli Alinari, Florenz 



17 




•Rom, Plnakothek dcs Vatikans Auf Holi, H. 0,22, B. 0,17 

Madonna mit Engeln und den Heiligen Dominikus und Katharina 
Madonna with child, angels La Vierge avec l'Enfant, des anges 

and saints Zwischen 1425 und 1435 et des saints 

Nach einer Aufnahme von Fratelll Alinari, Florenz 



18 




* Parma, Plnakothek Auf Holz, H. 1,01, B. 0,56 

Madonna mit den Heiligen Johannes, Dominikus, Franziskus und Paulus 
Madonna with child and saints Zwischen 1425 und 1435 La Vierge avec l'Enfant et des saints 



Nach einer Aufnahme von D. Anderson, Rom 



19 




o/3 ^; 



E N 



20 




<l> Si 

•a S 



21 




•Florenz, Ufflzlen Aut Holl, H.0,26, B. 0,24 

Die Geburt Johannes des Taufers 
The nativity of John the Baptist Zwischen 1430 und 1440 La naissance de Jean-Baptiste 

Nach einer Aufnahme von Fratelli Alinari, Florenz 



22 




■ : IBS . 
•Boston, Mrs.-Gordner-Museum Auf Holz, H. 0,532, B. 0,381 

Maria Tod und Himmelfahrt 

Zwischen 1425 und 1435 
The death of the Virgin — The Assumption La mort de la Vierge et L'assomption 

Nach elner Aufnahme von Thomas E. Marr, Boston, Copyright 1907 



23 







*Turln, Pinakothek Aul Holz 

Zwei Engel auf Wolken 

Fragmente aus einer grosseren Komposition 
Two angels on clouds Deux anges sur des nuages 

Nach einer Aufnahme von D. Anderson, Rom 



24 




*Florenz, Akademle 

Christus als Weltenrichter 
The last judgment (Ausschnitt aus dem Jungsten Oericht S. 25) Le jugement dernier 

(Detail) (Detail) 



Nach elner Aufnahme von Fratelli Alinarl, Florenz 



26 



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27 




*F!orenz, Akademie 

Anbetende Heilige 

The last judgment (Ausschnitt aus dem Jungsten Gericht S. 25) Le jugement dernier 

(Detail) (Detail) 



N.ich einer Aufnnhme von PrateUi Alinari, Florciu 



28 




*Florenz, Akademie 

The last judgment 
(Detail) 



Die Verdammten 
(Ausschnitt aus dem Jungsten Gericht S. 25) Le jugement dernier 

(Detail) 



Nach einer Aufnahme von Fratelli Alinari, Florenz 



29 




<;■ I,. ■:■• l ";■ ,;. ■■■, ; ; ir/ :'\w . \ ,, -' , ' ■ ,, ; ,-.-X'.;-.vViVi i ,, ■■> <-■ -_■■ ■■,- , ■■■■■■- . L - •■.--■.-,•.-,■ ■ 



'Florenz, Uffizien Aul Hote, H. 1,12, B. 1,14 

Die Krdnung Maria 
The coronation of the Virgin Zwischen 1430 und 1440 Le couronnement de la Vierge 



Nach einer Aufnahtne von Fratelli Alinari, Florenz 



30 




*FIorenz, Uflizlen 

Die Kronung Maria 

The coronation of the Virgin (Ausschnitt von S. 30) Le couronnement de la Vierge 

(Detail) (Detail) 

Nach einer Aufnahme von FratelU AHnari, Florenz 



Fra Angelico da Fiesole 3 



31 




*Florenz, Uftlzlen 



Linke Engelgruppe aus der „Kronung Maria" (S. 30) 
Group on the left in the Groupe de gauche du 

.Coronation of the Virgin" .Couronnement de la Vierge" 



Nach einer Aufnahme von Fratelll Alinari, Floreru 



32 




*Florenz, Uffizien 



Rechte Engelgruppe aus der „Kronung Maria" (S. 30) 
Group on the right in the Groupe de droite du 

.Coronation of the Virgin" „Couronnement de la Vierge" 



Nach elner Aufnahme von Fratelli Alinari, Florenz 



33 




•Florenz, Ufflzien Auf Holz, H. 2,G0, B. 1,33 

Madonnen-Altar der Linaiuoli (Flachshandler) 

(mit geschlossenen Flugein mit den Heiligen Markus und Petrus im alten Stein-Tabernakel) 
Altar of the Madonna of the Linaiuoli 1433 Autel des Linaiuoli 

(with closed wings with the S. S. Mark (marchands de lin) 

and Peter in the old stone-tabernacle) 



34 




'Florenz, Ufflzlen Auf Holz, H. 2,60, B. 2,6f 

Der Madonnen-Altar der Linaiuoli mit geoffneten Fliigeln 

(mit den Heiligen Johannes der Taufer und Markus) 

Altar of the Madonna of the Linaiuoli Autel des Linaiuoli avec les volets ouverts 
(with opened wings with the S. S. John 
Baptist and Mark) 

Nach einer Aufnahme von Frateili Alinari, Florenz 



35 




* Florenz, Uffizien 



Madonna mit dem Kinde und Engeln 

(Mittelstiick des Triptychons auf S. 34) 
Madonna with child La Vierge avec l'Enfant 

(Central part of the triptych on p. 34) (Partie centrale du triptyque de p. 34) 



*Nach finer Aufnahme von Fratclli Alinari, Florenz 



36 




*Florenz, Uffizien H. des einzelnen Engels ca. 0,24 

Musizierende Engel. Vom Rahmen des Bildes auf S. 36 

Angels making music Anges musiciens 

On the frame of the picture on p. 36 Sur le cadre du tableau de p. 36 



Nach einer Aufnahme von Fratelli Alinari, Florenz 



37 




* Florenz, Ufllilen 

Musizierende Engel. Vom Rahmen des Bildes auf S. 36 

Angels making music Anges nuisiciens 

On the frame of the picture on p. 36 Sur le cadre <iu tableau de p. 36 



Nach elncr Aufnahme von Fratelli Alinari, Florenz 



38 





*Florenz, Uffizien 

. Musizierende Engel. Vom Rahmen des Bildes auf S. 36 

Angels making music Anges musiciens 

On the frame of the picture on p. 36 Sur le cadre du tableau de p. 36 



Nach einer Aufnahme von Fratelli Alinari, Floren 



39 





*Florenz, Uflizien 



Musizierende Engel. Vom Rahmen des Bildes auf S. 36 

Angels making music Anges musiciens 

On the frame of the picture on p. 36 Sur !e cadre du tableau de p. 3ti 



Nach einer Aufnahme von FratelH Alinari, Florenz 



40 





•Florenz, UHlzlen 

Musizierende Engel. Vom Rahmen des Bildes auf S. 36 

Angels making music Anges musiciens 

On the frame of the picture on p. 36 Sur le cadre du tableau de p. 36 

Nach einer Aufnahme von Fratelli Alinari, Florenz 



41 





*Florenz, UHizlen 

Musizierende Engel. Vom Rahmen des Bildes auf S. 36 

Angels making music Anges musiciens 

On the frame of the picture on p. 36 Sur le cadre du tableau de p. 36 

Nach einer Aufnahmc von Fralelli Allnari, Horenz 



42 




a. {J 
c 5 



43 




44 




45 







S .S 



— eg 



46 




*Florenz, Akademie * 

Madonna mit dem Kinde 

(Ausschnitt aus dem Bilde auf S. 46) 
Madonna and child La Vierge avec l'Enfant 

(Detail of the picture on p. 46) (Detail du tableau de p. 46 

Nach elner Aufnahme von Fralelil Alinarl, Florenz 



Fra Angelico da Fiesole 4 



47 




* : Paris, Louvre 



Auf Hull, H.2,12 

Die Kronung Maria 

Zwischen 1430 und 1440 Le couronnement de la Vierge 



The coronation of the Virgin 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 



4S 




♦Paris, Louvre 



Die Kronung Maria 



The coronation of the Virgin (Ausschnitt von S 48) Le couronnement de la Vierge 

(Detail) ' (Detail) 



Nach einer Aufnahme von FratelH Allnarl, Florenz 



49 




Traum Honorius' III. 
Predellenstuck der -Kronung Maria" (S. 48) 



Part of the predella of the 
..Coronation of the Virgin" 



Pattie de la predelle du 
„Couronnement de la Vierge" 




* Paris, Louvre 

Die Apostelfiirsten erscheinen St. Dominikus 

Predellenstuck der .Kronung Maria" (S. AS) 
Part of the predella of the Partie de la predelle du 

.Coronation of the Virgin" .Couronnement de la Vierge' 

Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 

50 




i: Paris, Louvre 

Die Erweckung des Knaben Napoleon 

Predellenstiick der „Kronung Maria" (S. 48) 
Part of the predella of the Partie de la predelle du 

„Coronation of the Virgin" „Couronnement de la Vierg 




* Paris, Louvre 

Pieta 
Predellenstiick der „Kr6nung Maria" (S. 48) 
Part of the predella of the Partie de la predelle du 

..Coronation of the Virgin" „Couronnement de la Vierge" 

Nach ciner Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 

51 




Die Disputation mit Ketzern und das Feuerwunder der heiligen Biicher 

Predellenstuck der .Kronung Maria" (S. 48) 
Part of the predetla of the Partie de la predelle du 

.Coronation of the Virgin" „Couronnement de la Vierge" 




* Paris, Louvre 

Die Dominikaner werden durch Engel gespeist 

Predellenstuck der „Kronung Maria" (S. 48) 
Part of the predella of the Partie de la predelle du 

..Coronation of the Virgin" „Couronnement de la Vierge' 

Nach einer Aufnahme von Braun, Clement & Cie.. Oornach (Elsass) 

52 




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53 




' Florenz, Akademic Auf Holz, H. 2,76, B. 2,S5 

Die Kreuzabnahme 

(Die Lunetten-Bilder von Lorenzo Monaco) 
The descent from the cross Zwischen 1430 und 1440 La descente de la croix 

Nach ciiier Aufnahme von Fratclli Alinari, Florau 



54 




•"Florenz, Akadeniie 

Die Kreuzabnahme 
The descent from the cross (Ausschnitt) 

(Detail) 



La descente de la croix 
(Detail) 



Nach einer Aufnahme von Fratelli Alinari, Florenz 



55 




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The descent from the cross 
(Detail) 



Die Kreuzabnahme 

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La descente de la croix 
(Detail) 



Nach einer Aufnahmc von Fratelll AHnarl, Florcnz 



56 




*Florenz, Akadcmie 



The descent from the cross 
(Detail) 



Die Kreuzabnahme 

(Ausschnitt von S. 54) 



La descente de la croix 
(Detail) 



Nach einer Aufnahme von Fratelli Alinari, Florenz 



57 





' Florenz, Akademie 

Die Heiligen Michael, Andreas unci Franziskus vom Rahmen der .Kreuzabnahme" (S. 54) 

Vorderseite des linken Pilasters 
Three saints 
On the frame oi the .Descent from the cross" 



Trois saints 
Sur le cadre de la .Descente de la croix" 



Nncti etner Aufnahme von Giacomo BrogI, Florenz 



58 





* Fiorenz, Akademie 

Die Heiligen Petrus, Paulus und Dominikus vom Rahmen der „Kreuzabnahme" (S. 54) 

Vorderseite des rechten Pilasters 

Three saints Trois saints 

On the frame of the „Descent from the cross" Sur le cadre de la „Descente de la croix" 

Nach elner Aufnahme von Giacomo Brogi, Fiorenz 



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Vorderseite der Pilaster 
Angels and saints Deux anges et deux saints 

On the frame of the „Descent from the cross" Sur le cadre de la .Descente de la croix" 



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Engel und Heilige vom Rahmen der „Kreuzabnahme" (S. 54) 

Aussenseiten der Pilaster 

Angel and saints Ange et saints 

On the frame of the .Descent from the cross" Sur le cadre de la „Descente de la croix" 



Fra Angelico da Fiesole 5 



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Madonna mit den Heiligen Dominikus und Thomas von Aquino 

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Madonna with child and saints La Vier-ge avec l'Enfant et des saints 



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Verkiindigungsengel 

(Ausschnitt aus dem Bilde auf S. 72) 
The angel of annunciation L'ange de l'annonciation 

(Detail ot the picture on p. 72) (Detail du tableau de p. 72) 

Nach einer Aufnahme von Fratelli Alinari, Florenz 



73 




Die Vermahlung Maria 
The marriage of the Virgin — Le manage de la Vierge 



Die Heimsuchung 
The visitation — La visitation 




Die Anbetung der Konige 
The magi adoring Christ L'adoration des rois 




•Cortona, U Gesii Auf Holz, H. 0,255, B. 1,80 

Die Darbringung im Tempel — Die Grablegung Maria 
The presentation in the temple The sepulture of the Virgin 

La presentation au temple La sepulture de la Vierge 

Predella zura Verkundigungs-Altar (S. 72) 

Nach einer Aufnahme von Fratelli Alinari, Florenz 



74 




75 




*Cortona, S Domenico Aul Holz, H. 2.U, B.0,b6 

Madonna mit dem Kinde 

(Ausschnitt aus dem Bilde auf S. 75) 
Madonna and child La Vierge avec I'Enfant 

(Detail of the picture on p. 75) (Detail du tableau de p. 75) 

Nach elner Aufnahme von Fratelll Alinari, Florenz 



76 




Honorius III. Traum Begegnung mit dem heiligen Franziskus Erscheinung der Apostelfursten 




Erweckung des Knaben Napoleon 



Disputation und Feuerwunder 




Die Speisung durch Engel Tod des Heiligen 

•Cortona, II Gesu Au! Holz, H.0,23, B. 2,30 

Szenen aus dem Leben des heiligen Dominikus 
Scenes of the life of St. Dominic Scenes de la vie de saint Dominique 

Predella des Altars S. 75 
Nach einer Aufnahme von Fratelli Alinari, Florenz 



77 




•Perugia, Plnakothek Jul Hoi/. II. 1,30, B. 0,77 

Madonna mit dem Kinde und Engeln 

Zwischen 1435 und 1445 
Madonna with child and angels La Vierge avec l'Enfant el des anges 

Nach einer Aufnahme von Fratelll Allrtarl, Florenz 



78 




Fra Angelico da Fiesole 6 



79 




* Perugia, Pinakothtk 

Sa. Maria Magdalena 

St. Mary Magdalene 
Sainte Marie-Madeleine 



Auf llol?, H. 0,33, B. jeder Tafel 0,065 



S. Benedikt S. Thomas von Aquino 

St. Benedict St. Thomas of Aquino 

Saint Benoit Saint Thomas d'Aquin 

Figurlicher Rahmenschmuck vom Altar S. 7K/79 

Nach finer Anfiialime von Fralelll Alinarl, Florenz 



S. Laurentius 
St. Laurence 

Saint Laurent ' 



80 




* Perugia, Pinakothek 

Sa. Katharina von Siena 
St. Catherine 

Sainle Catherine 



Ant Holz, H. 0,33, B.jederTafel 0,065 



S. Petrus Martyr S. Ludwig 

St. Peter the martyr St. Ludovic 

Saint Pierre marlyr Saint Ludovic 

, Figurlicher Rahmenschmuck vom Altar S. 78/79 

Nach einer Aufnahme von Fratelli Alinari, Florenz 



S. Hieronymus 
St. Jerome 

Saint Jerome 



81 





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Madonna mit den Heiligen Dominikus, Thomas von Aquino und Engeln 

Zwischen 1435 und 1445 
Madonna with child, two saints and angels La Vierge avec l'Enfant, deux saints et des anges 



87 




« Montccarlo (Val d'Arno) 

The annunciation 



Verkiindigungs -Altar 
Zwischen H3.i und 1440 

N.ich einer Aufnahme von Fratelll Alinari, Flomiz 



Aul Holz, 11. 1,< 



L'annonciation 



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Madonna and child 



Madonna mit dem Kind 

Zwischen 1435 und 1445 
Nach einer Aufnahmc von Qlacomo Brogl, Flore 



La Vierge avec l'Enfant 



90 




' Berlin, Kaiser-Frledrlch-Museum Auf Pappelholz, H. 0,70, B. 0,51 

Madonna mit dem Kinde und den Heiligen Dominikus und Petrus Martyr 
Madonna with child La Vierge avec l'Enfant 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



91 




Ncuyork,S;iniin1uiiK Pierpont Morpan Auf Holz. H. 1,0. B. 0,-19 

Madonna mit Engeln 
Madonna with angels La Vierge avec des anges 



92 




*Frankfurt a. M., Dr. Ad. Schaeffer. Fruher Holz, jetzt auf Leinw. ubertragen, H. 0,91, B. 0,46 

Thronende Madonna mit Engeln und der heiligen Katharina 
Madonna and child La Vierge sur le trone avec des anges et sainte 

enthroned Catherine 



93 




94 



SAN MARCO IN FLORENZ 

SAN MARCO IN FLORENCE SAINT MARC A FLORENCE 



Fra Angelico da Fiesole 7 



Anordnung der Zellen im ObergeschoB vom Kloster S. Marco 



Piazza S. Marco 



z Aladonna u. Heilige 11 

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„ Darstellung Christ! 10 

i 

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Die Frauen am Grabe 8 

Christi Verspottung 7 

Verklarung 6 

. Geburt 5 

Kreuzigung 4 

Verkiindigung 3 

Christi Grablegung 2 

Christus als Gartner 1 



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33a ist zum Teil, das von 34a fast ganz durch die Anlage eines Korridorfensters zerstort. 




sFlorenz, S.Marco, Klosterhof ' Fresko, H. 3,40, B. 1,55 

Christus am Kreuz mit dem heiligen Dominikus 

Zwischen 1437 und 1445 
Christ on the cross and St. Dominic Le Christ en croix et saint Dominique 

Nach einer Aufnahme von Fratelli Alinari, Florenz 



95 




*Florenz, S. Marco 



Christ on the cross 
(Detail) 



Christus am Kreuz 

(Ausschnitt vom Fresko S. 95) 
Nach einer Aufnahme von Fratelli Alinari, Floren 



Le Christ en croix 
(Detail) 



96 




* Florenz, S.Marco, Klosterhof 

Der heilige Dominikus 
St. Dominic Saint Dominique 

Nach einer Aufnahme von Giacomo Brogi, Florenz 




Florenz, S.Marco, Klosterhof 

St. Peter Martyr 



Der heilige Petrus Martyr 

Zwischen 1437 und 1445 
Nach einer Aufnahme von Fratelli Alinari, Florenz 

97 



Saint Pierre Martyr 




sFlorenz, S.Marco, Klosterhof FreSko 

Der heilige Thomas von Aquino 
St. Thomas of Aquino Saint Thomas d'Aquin 




*Florenz, S.Marco, Kloslerliof 



Christ as the man 
of dolours 



Christus als Schmerzensmann 

Zwischen 1437 u. 1445 Le Christ comme homme 



dcs doulcurs 



Noch einer Aufnahme von Fratelli Alinari, I 



98 




99 




100 




* Florenz, S. Marco Fresko 

Der heilige Dominikus 

(Ausschnitt aus der „Kreuzigung Christ!" S. 100) 
St. Dominic Saint Dominique 

(Detail of the .Crucifixion of Christ", on p. 100) (Detail du „Crucifiement du Christ", p. 100) 

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Die linke Halfte vom Fries unter der „Kreuzigung Christi" (S. 100) 

Details oi the frieze under the Details de la (rise sous le 

.Crucifixion of Christ", on p. 100 .Crucifiement du Christ", p. 100 

Nach einer Aufnahme von Fralelli Allnari, Florenz 



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Die rechte Halfte vom Fries unter der „Kreuzigung Christi" (S. 100) 

Details of the frieze under the Details de la frise sous le 

.Crucifixion of Christ", on p. 100 „Crucifiement du Christ", p. 100 



Nach einer Aufnahme von Fratelli Alinari, Florenz 



105 




106 




*Florenz, S. Marco, Obergeschoss Fresko, H. 2,42, B. 1,74 

Christus am Kreuz mit dem heiligen Dominikus 

Zwischen 1437 und 1445 
Christ on the cross and St. Dominic Le Christ en croix et saint Dominique 

Nach einer Aufnahme von Fratelli Alinari, Florenz 



107 







108 




* Florenz, S. Marco > Fresko 

Madonna mit dera Kinde 

Mittelstuck des Bildes auf S. 108 

Madonna with child La Vierge avec l'Enfant 

Central part of the picture on p. 108 Partie centrale du tableau de p. 108 

Nach einer Aufnahme von Fratelli Alinari, Florenz 



Fra Angelico da Fiesole 8 



109 




* Florenz, S. Marco Fresko 

Die Heiligen Dominikus, Cosmas, Damian und Markus. Gruppe aus dem Bilde auf S. 108 

Group of saints on the left of the Groupe de saints dans la parlie gauche 

picture on p. 108 du tableau de p. 108 



Nach einer Aufnahtne von Fralelli Allnarl, Florenz 



110 




* Florenz, S. Marco . Fresko 

Die HI. Johannes, Thomas von Aquino, Laurentius und Petrus Martyr. Gruppe aus dem Bilde auf S. 108 
Group of saints on the right of the Groupe de saints dans la partie droite 

picture on p. 108 du tableau de p. 108 

Nach einer Aufnahme von Fratelli Alinari, Florenz 



111 




Florenz, S. Marco, 1. Zelle Fresko, H. 1.77, B. 1,39 

Christus erscheint Maria Magdalena 

Zwischen 1437 und 1445 
Christ appearing to Magdalene Le Christ apparaissant a sainte Madeleine 



Nach einer Aufnahme von Fratelli Almari, Florenz 



112 




*Florenz, S. Marco, 3. Zelle 



The annunciation 



Die Verktindigung 

Zwischen 1437 und 1445 



Fresko, H. 1,87, B. 1,57 
L'annonciation 



113 




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Chrisli Verklarung auf dem Berge Tabor 

The transfiguration of .Christ Zwischen 1437 und 1445 La transfiguration du Christ 

on the mount Tabor sur le mont Tabor 



115 




*Florenz, S. Marco, 7.ZeIle 



The derision of Christ 



Fresko, H. 1,95, B. 1,59 



Christi Verspottung 

Zwischen 1437 und 1445 Le Christ tourne en derision 



116 




Florenz, S.Marco, 7. Zelle 

Der heilige Dorainikus 

(Ausschnilt aus der „Verspottung Christi", S. 116) 
St. Dominic Saint Dominique 

(Detail of the .derision (Detail de la .derision 

of Christ") du Christ") 

Nach einer Aufnahme von Fratelli Alinari, Fiorenz 



117 




* Florenz, S. Marco, 8. Zelle Fresko, H. 1,82, B. Ifi 

Die Auferstehung Christi 
The resurrection of Christ Zwischen 1437 una 1445 La resurrection du Christ 



118 




*Florenz, S. Marco, 9. Zelle Fresko, H. 1,89, B. 1,59 

Die Kronung Maria 
The coronation of the Virgin Zwischen 1437 und 1445 Le couronnement de la Vierge 



119 




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Die Kronung Maria 

The coronation of the Virgin (Ausschnitt von S. 119) Le couronnement de la Vierge 

(Detail) (Detail) 

Nach einer Aufnanme von Fratelli Alinari, Florenz 



120 




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Die Darstellung Christi im Tempel 

The presentation of Christ La presentation du Christ 

in the temple Zwischen 1437 und 1445 au temple 



Nach eincT Aufnalime von Fratelli Alii 



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Christi Versuchung und Gebet 
The Temptation and Prayer of Christ (Fragment) Tentation et Priere du Christ 



126 








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128 





129 




130 




* Florenz, Akademie A.if Holz, H. 2,20, B. 2,27 

Thronende Madonna mit Heiligen und Engeln 

Zwischen 1438 und 1440 

Madonna with child, saints and angels La Vierge avec l'Enfant, des saints et des anges 

Nach einer Aufnahme von Fratelli Alinari, Florenz 



131 




< Florenz, Akademle Aul Holz, H.0,37, B. 0,4". 

Eine wunderbare Heilung durch die Heiligen Cosmas und Damianus 
A miracle of St. Cosmas and St. Damianus 



Nacli einer Audialii 



Le miracle des saints Cosme et Damien 

i I r.jlLlIi Alinari. Florenz 




*Miinchen, Alle Pinakothek Aut Holz, H. 0,38, B. 0,45 

Die Heiligen Cosmas, Damianus und ihre Briider vor dem Richter Lisias 

St. Cosmas and St. Damianus Saint Cosme et saint Damien 

before the judge devant le juge 

Predellenbilder vom Altar S. 131 

Nach elncr Aufnahme von F. Bruckmnnn A.-O., Mfinchen 

132 




"Miinchen, Alte Pinakothek Auf Holz, H. 0,38, B. 0,46 

Die Heiligen Cosmas, Daraianus und ihre Bruder vor dem Richter 

und dann ins Meer gestiirzt 

St. Cosmas and St. Damianus Saint Cosme et saint Damien 

cast into the sea tombes dans la mer 



Nach einer Aufiialunc von F. 



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Die Heiligen Cosmas, Damianus und ihre Bruder sollen verbrannt werden 

Scene from the large St. Cosmas-predella Scene de la grande predelle de saint Cosme 

Predellenbilder vom Altar S. 131 



133 




MQnchen, Alte Plnakothek Auf Holz, It. 0..1K, B. 0,46 

Die Heiligen Cosmas und Damianus ans Kreuz geheftet 
St. Cosmas and St. Damianus Saint Cosme et saint Damien 

fixed to the cross fixes aux croix 



NaCll CllKT AllIlKllMIK' 



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Paris, Louvre Aut Holz, 11.0,36, U. 0,46 

Der Martertod der Heiligen Cosmas, Damianus und ilirer Briider 

The martyrdom of St. Cosmas Le martyre de saint Cosme et 

and St. Damianus de saint Damien 

Predellenbilder vom Altar S. 131 

Nach elner Aufnahme von Fratelll Alinarl, Florenz 

134 




135 




136 




137 




•Flnrenz, S. Marco Auf Leinwand (?), H. 1,05, B. 0,67 

Prozessions-Fahne mit dem Crucifixus 
Flag with Christ on the cross Gonfalon avec le Christ en croix 



138 




' Florenz, S.Marco, Blbllothek 

Annunciation 



Zanobi Strozzi(?): Verkiindigung 

(Aus einem Chorbuch) 



L'Annonciation 



139 



Ill 



ROM UND ORVIETO 

SOWIE DIE LETZTEN WERKE IN TOSKANA 

ROME AND ORVIETO ROME ET ORVIETO 

AND THE LAST WORKS ET LES DERNIERES OZUVRES 

OF TOSKANA FAITES EN TOSCANE 



Fra Angelico da Fiesole 10 




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Oberer Teil des linken Seitenbildes vom „Jungsten Gericht" (S. 140) 
Upper part of the left side-picture Partie superieure du tableau a gauche 

of the „Last judgment" du „Jugement dernier" 

Nach elner Aufnahme von Franz Hanfstaengl, Miinchen 

144 



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Lower part of the left side-picture Partie en bas du tableau a gauche 

of the „Last judgment'' du „Jugement dernier" 

Nach elner Aufnahme von Franz Hanfstaengl, Miinchen 



145 




* Berlin, Kaiser-Friedrich-Museum 

Oberer Teil des rechten Seitenbildes vom .Jungsten Qericht" (S. 140) 

Upper part of the right side- Partie superieure du tableau 

picture of the „Last judgment" a droite du „Jugement dernier" 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



146 




' Berlin, Kalser-Friedrlch-Museum 

Unterer Teil des rechten Seitenbildes vom Jungsten Gericht" (S. 140) 
Lower part of the right side- Partie en bas du tableau a droite 

picture of the .Last judgement" du Jugement dernier" 

Nach einer Aufnahme von Franz Hanlstaengl, Miinchen 

147 





*Berl!n, Kalser-Friedrlch-Museum Aui Holz, H. 1,01, B. jedes Flugels 0,27 

Seitenbilder des „Jungsten Gerichts" (S. 140) 
The last judgment: side-pictures Le jugement dernier: tableaux de cote 

Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 



148 




* Rom, Galerle CorsinI Au , „„,,,_ „ oif R „ ?< 

Triptychon mit dem Jiingsten Gericht" (Mitte), der .Himmelfahrt Christi" (links) und der 

„Herabkunft des Heiligen Geistes" (rechts) 
Triptych with the „Last judgment" (central Triptyque avec le .Jugement dernier" 

part), tlie ..Ascension" (on the left) and the (Partie centrale), „L'Ascension" (a gauche) 

.Descent of the Holy Ghost" (on the right) et la .Descente du Saint Esprit" (.i'droite) 



Nuch einer Aufnalnnc von Tratclli Alinari, Floren 



149 




Berlin, Kaiser-Friedrlch-.Museum 

Mittelbild vom Jtingsten Gericht" (S. 140) 
The last judgment: central picture Le jugement dernier: tableau central 

Nach einer Aufnahme von Franz Hanfstaengi, Miinchen 



150 




*Rom, Galerie Corsini 

Das Jiingste Gericht. Mittelstiick des Triptychons (S. 149) 

The last judgment Le jugement dernier 

Central part of the picture on p. 149 Partie centrale du triptyque de p. 149 

Nach ciner Aufnahme von Fratclli Alinari, Florenz 



151 




152 




1 Orvleto, Dom 



Chor der Propheten 

1447 



The choir of the prophets 1447 Le chceur des prophetes 

Nacli einer Aufnahme von D. Anderson, Rom 



153 




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sFlorenz, Akademle Auf Holz, H. 1,71, B. 1,72 

Thronende Madonna mit sechs Heiligen und Engeln 
Madonna and child, La Vierge avec l'Enfant, 

six saints and angels six saints et des anges 

Nach einer Aufnahme von Fratelli Alinari, Florenz 



158 




Berlin, Kalser-Friedrlch-Museum Auf Holz, H. 0,26, BO. SI 

Die Heiligen Dominikus und Franziskus 

Saint Dominique et saint Francois 



St. Dominic and St. Francis 




^Berlin, Kaiscr-Friedrich-Museum Auf Holz, H. 0,26, B. 0,'tl 

Die Verklarung des heiligen Franziskus 
The transfiguration of St. Francis La transfiguration de saint Francois 

Nacli einer Aufnahme von Franz Hanlstaengl, Munchen 



159 




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162 




'1'lorenz, Akademie Auf Holz, H. 0,87, B. 0,<5 

Pieta und Anbetung der Konige 
The adoration of the magi L'adoration des rois 

Above: Pieta En haut: La Pieta 

N.k1i einer Aufnahnu- von Fratelli Alinari, Florciu 



163 




*FIorenz, Akaderaie Auf Holz, H. 1,18, B. 0,75 

Szenen aus dem Leben Christi. Gesamtansicht vom rechten Fliigei des zweiten Schranks 

Scenes from the life of Christ Scenes de la vie du Christ 

Example of the arrangement Exemple de l'arrangement 

of the paintings des tableaux 



Nacli einer Aufnahme von Glacomo Brogi, Florenz 

164 



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'Florenz, Akademie Auf Holz, H. 1,18, B. 0.T5 

Szenen aus dem Leben Christi. Gesamtansicht vom Iinken Fltigel des dritten Schranks 

Scenes from the life of Christ Scenes de la vie du Christ 

Example of the arrangement of the paintings Exemple de l'arrangement des tableaux 



Mach einer Aulnatime von Fratelli Alinari, Florenz 



165 





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183 




^Rom, Vatikan (Kapelle Nikolaus V.) Fresko 

Deckenbild: Die vier Evangelisten 

Zwischen 1445 und 1455 
Fresco on the ceiling: The four evangelists Fresque au plafond: Les quatre evangelistes 



Nach einer Aufnahme von Fratelli Alinari, Florenz 



184 




185 





*Rom, Vatlkan (Kapelle NlkolauS V.) ... , '< ,...;. . Fresken 

St. Ambrosius Zwischen 1445 und 1455 St. Augustinus 

St. Ambrosius Saint Ambroise St. Augustine Saint Augustin 



Fra Angelico da Fiesole 13 



186 





*Rom, Vatikan (Kapelle Nikolaus V.) Fresken 

St. Leo Zwischen 1445 und 1455 St. GregOriuS 

St. Leo Saint Leon St. Gregorius Saint Gregoire 



187 





*Rom, Vatikan (Kapelle Nikolaus V.) Fresken 

St. Athanasius Zwischen 1445 und 1455 St. Chrysostomus 

St. Athanasius Saint Athanase St. Chrysostomus Saint Chrysostome 



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Der heilige Bonaventura Zwischen 1445 u. 1455 Der heilige Thomas von Aquino 
St. Bonaventura Saint Bonaventure St. Thomas of Saint Thomas 

Aquino d'Aquin 

Nach einer Aufnahme von Fratelli Alinari, Florciw 



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St. Bonaventura, 
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Der heilige Bonaventura 

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Saint Bonaventure 
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Nach einer Aufnahme von D. Anderson, Rom 



190 




191 




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193 




«Rom, Vatlkan (Kapelle Nikolaus V.) Fresko 

• Ausschnitt aus dem Bilde auf S. 192 
Detail of the picture on p. 192 Detail du tableau de p. 192 

Nach einer Aufnahme von D. Anderson, Rom 



194 




* Rom, Vatikan (Kapelle Nikolaus V.) Fresko 

Ausschnitt aus dem Bilde auf S. 192 
Detail of the picture on p. 192 Detail du tableau de p. 192 

Nach einer Aufnahme von D. Anderson, Rom 



195 




*Rom, Vatlkan (Kapelle Nikolaus V.) 

Stephanus auf dem Weg zum Richtplatz 



St. Stephen on his way to 

the place of execution 

(Detail of the picture on p. 193) 



(Ausschnitt aus dem Bild S. 193) 



Saint Etienne sur le chemin 

du supplice 

(Detail du tableau de p. 193) 



196 




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197 




•Rom, Vatikan (Kapelle Nikolaus V.) Fresko 

Der heilige Lorenzo von Papst Sixtus II. zum Diakon geweiht 

St. Lorenzo ordained deacon by Pope Saint Laurent sacre diacon par le pape 

Sixtus II ' Zw:schen 1445 und 1455 Sixte II 



Nach einer Aufnahme von Fratelli Alinari, Florenz 



198 




•Rom, Vatikan (Kapellc Nikolaus V.) Fresko 

Papst Sixtus II. ubergibt dem heiligen Lorenzo die Schatze der Kirche 
zur Verteilung an die Armen 

Pope Sixtus II delivering to St. Lorenzo Le pape Sixte II rendant les richesses de 

the wealth of the church to be distributed l'eglise a Saint Laurent pour les distribuer 

to the poor Zwischen 1445 und 14S5 aux pauvres 

Nach einer Aufnahme von Fratclli Alinori, Florciu 



199 




200 




201 




* Windsor, Castle (Royal Library) 



Federzeichnung 



Studien zu den Fresken der Nikolauskapelle 

Studies for the frescoes Etudes pour les fresques 

in the chapel of St. Nicolas de la chapelle de saint Nicolas 



Fra Angelico da Fiesole 14 



202 




Rom, Vatikan (Kapclle Nikolaus V.) F 

Der heilige Lorenzo als Almosenspender 
St. Lorenzo giving alms Zwischen 1445 und 1455 Saint Laurent l'aumdnier 

Nach einer Aufnahme von Fratelll Alinari, Floreni 



203 




*Rom, Vatikan (Kapelle Nikolaus V.) Fre: 

Ausschnitt aus dem Bilde auf S. 203 
Detail of the picture on p. 203 Detail du tableau de p. 203 

Nsch einer Aufnahme von D.Anderson, Rom 



204 




205 




i'Rom, Vatikan (Kapelle Nlkolaus V.) Fres 

Der heilige .Lorenzo, vom Prafekten Decius zum Tode verurteilt 
St. Lorenzo condemned to death Saint Laurent condamne a la mort par le 

by the prefect Decius Zwischen 1445 und 1455 prefet Decius 

Naeh einer Aufnahme von Fratelli Alinari, Florenz 



206 




*Rom, Vatikan (Kapelle Nikolaus V.) Iresko 

Das Martyrium des heiligen Lorenzo 
The martyrdom of St. Lorenzo Le martyre de saint Laurent 



Nach einer Aufnahme von Prate! II Alinari, Floren 



207 




* Paris, Louvre 



Anbetender Engel 



Adoring angel (Fragment) An S e adorant 

(Fragment) (Fragment) 



208 




* Bergamo, Accidentia Carrara 

Madonna with angels 



Auf Holz, II. 0,335. B. 0,28 



Madonna mit Engeln 



La Vierge avec des anges 



209 




fFlorenz, S. Marco Auf Holz, H. 0,69, B. 0,37 

Die Kronung Maria 
The coronation of the Virgin Le couronnement de la Vierge 



Nach eincr Aufnahme von Fratelli Alinari, Florenz 



210 




"Budapest, Museum Aut Holz, II. 0,29, B.O.-U 

Anbetung der Konige 
The adoration of the magi L'adoration des rois 




*Florenz, S. Marco 



Die Kronung Maria 



The coronation of the Virgin (Ausschnitt von S. 210) Le couronnement de la Vierge 

(Detail) (Detail) 



Nach einer Aufnahme von Prltelil Alluari, Florenz 



211 




* Paris, Louvre Fresko, H.2,60, B. 1,25 

Christus am Kreuz und die Heiligen Maria, Johannes und Dominikus 

(Aus Fiesole, S. Domenico) 

Christ on the cross, Mary, Magdalene Le Christ en croix, la Vierge, Madeleine 

and St. Dominic et saint Dominique 

Nach elner Aufnahme von Fratelli Alinarl, I-'lorenz 



212 




213 




Auf Holz, H. 0,20 



Die Heiligen Cosmas und Damianus verlassen die geheilte Pelladia 




3: Florenz, Akademie Auf Holz, H. 0,20 

Die Heiligen Cosmas, Damianus und ihre Briider vor dem Richter 

Scenes from the lives Scenes de la vie 

of St. Cosmas and St. Damianus des saints Cosine et Damien 

Nach einer Aufnalime von Fratelli Alinari, Florenz 



214 



ANHANG 

WERKSTATTS-ARBEITEN UND ZWEIFELHAFTE WERKE 

SUPPLEMENT SUPPLEMENT 

STUDIO-WORKS AND TRAVAUX D'ATELIER ET 

DUBIOUS PICTURES CEUVRES DOUTEUSES 




Aul Holz, H. 0,20 

DieHeiligen Cosmas undDamianus insMeergesturztund vomEngel errettet 




*Florenz, Akademie Auf Holz, H. 0,20 

Die Heiligen Cosmas, Damianus und ihre Briider auf dem Scheiterhaufen 

Scenes from the lives Scenes de la vie 

of St. Cosmas and St. Damianus des saints Cosme et Damien 

Nach einer Aufnahme von FratelH Alinari, Florenz 



Fra Angelico da Fiesole 15 



215 







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Aul Holz, H. 0.20 

Die Heiligen Cosmas, Damianus und ihre Briider sollen gesteinigt werden 




•Florenz, Akademle Aul Holz, II. 0,20 

Die Enthauptung der Heiligen Cosmas, Damianus und ihrer Briider 

Scenes from (he lives Scenes de la vie 

of St. Cosmas and St. Damianus des saints Cosme et Damien 

Nach einer Aufnahtne von Fralelli Alinari. Florenz 



216 




Fra Angelico da Fiesole 15* 



217 




' Florenz, Uffizlen 



Auf Holz, H. 1,16 



Madonna mit dem Kinde und Engeln 



Madonna with child and angels 



La Vierge avec 1'Enfant et des anges 



N'acli elner Aufnahnie von Glaconio Bro^i, Florenz 



218 




Pisa, Museo civico 



Christus 



Christ Le Christ 

Nach einer Aufnahmc von Fratelfl Alinari, Florenz 



219 




*Hlldeslieini, Do 



Auf llolz 

Haus-Altarchen mit der Verkiindigung auf der Aussenseite der Fliigel 
Little house-altar with the annunciation Petit ante! particulier avecfl'annonciation 

on the outside of the doors a l'exterieur des volets 



220 




*San Martino a Mensola, Kirch e 

Die Verkiindigung 
The annunciation L'annonciation 



Nach einer Aufnahme von Fratelli AHnarl, Florenz 



221 





222 




223 




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s Florenz, S. Niccolo di Bari 



Crucifixion-group 



Kreuzigungsgruppe 



Groupe du crucifiement 



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